architect and curator working in different cultural fields across art, architecture and design also active as researcher and creative consultant.
architecture practice focuses mainly on exhibitions and interior spaces, while curatorship and consulting work spans visuals, art, design, fashion, and cross-disciplinary theoretical research, fostering collaborations with artists and figures from the broader transversal creative scene.
collaborates across institutions such as the politecnico di milano, architecture biennials, galleries, sandretto re rebaudengo foundation, brands and international magazines.
Sandretto Re Rebaudengo Foundation
exhibition
theoretical and research project developed with Sandretto Re Rebaudengo Contemporary Art Foundation and Campo, Turin, 2025
theoretical and research project developed with Sandretto Re Rebaudengo Contemporary Art Foundation and Campo, Turin, 2025
The Sandretto Re Rebaudengo Foundation presents No More Secrets, a group exhibition for the Project Room, curated by Alberto Dapporto. The exhibition offers a perspective on the contemporary condition of vulnerability, understood as the erosion of expectations invested in a form of life onto which we project desires and imaginations. The project draws inspiration from Lauren Berlant’s essay Cruel Optimism, which describes the good life as a normative and culturally produced construct that people cling to even when it hinders personal fulfillment. From this perspective, the illusion of an idealized future fuels a form of cruel optimism that cancels out the present, transforming it into a space of waiting, frustration, and disillusionment. This is not a temporary crisis, but a permanent and systemic state: a way of living based on reliance on ideals such as stable employment, happy relationships, and social mobility, which never fully materialize.
The exhibition is structured around three primary registers: frustration, intimacy, and interference. The first two are emotional fields that generate affective and analytical immersion and remain within a representational logic: a condition is shown, recognized, and processed. Interference, instead, is the form through which vulnerability manifests itself: it creates friction and perceptual discontinuities and invites viewers not to seek an orderly reading. It is the relational space between the works, between the works and the audience, and between a sensation and its explanation. It is what happens in the blind spots of narration.
Although employing different languages and techniques, the works converge in a formal synthesis characterized by chromatic anemia, where what distinguishes them is their emotional impact on the visitor: at times repellent, at times prompting identification. Between them operates a logic of disturbance, similar to a glitch, made up of micro-spatial interruptions that transform interference into experience—something the viewer lives through rather than reads. Visible already from outside, Restraint by Anne Imhof asserts itself as a warning: a rail that holds back a paralyzed body, without catharsis or release, the site of a suspended affect seeking connection in an environment that rejects it.
In Dopple Chain Ganger, Andra Ursuţa shows how normativity gives rise to the fear of being trapped in an artificial identity and becomes an invisible chain that creates fragmented copies of the self, resulting in a loss of authenticity. Within this collective disturbance, entering others’ experiences and recognizing oneself in their feelings generates a universal echo of emotional states in which pain is not concealed but explored in its rawness and authenticity. With Exquisite Pain, 36 Days Ago, and Secrets, Sophie Calle transforms personal pain into shared reflection; here, unease becomes care—an exquisite pain.
More stray is the approach of Ser Serpas, who, through a more fragmentary perspective of assemblages of found objects, with the work Kim, allows us into her nomadic intimacy without any reparative intent. With 24 H de la vie d’une femme ordinaire, Michel Journiac denounces the rigidity of imposed roles and, by impersonating an ordinary woman, highlights the persistence of bourgeois archetypes. These are standards of capitalist thought that Lorenza Longhi deconstructs in The Maid, revealing the obsolescence of classical forms and their dominant aesthetic and social models.
The dimension of the ordinary runs throughout the entire exhibition and finds expression in Lee Kit’s It’s Not a Beautiful Day, which narrates everyday solitude with poetic minimalism, made up of simple, repeated gestures—the same solitude addressed by Rafik Greiss in Left to My Own Devices. Yet it is with Untitled (the Light that Filters through the Green) that the artist opens us up to perception: a simple gesture such as wiping condensation from a window reminds us how marks vanish, vulnerable to time just like us. It is an invitation to leave deeper traces.
The exhibition does not seek dramatic ways out, but instead suggests a constant negotiation of the everyday, focusing more on the absence of individual reaction—a condition of passivism that at times translates into a form of emotional or social self-harm. Even if silent, this resistance aims to deconstruct normality, where interference remains as a disturbance that concerns us all and forces us to listen, even when the signal breaks.
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